Presumably the last of the Evelyn Waugh novels dealing with the adventures of Englishman Guy Crouchback immediately prior, during and just after the Second World War, The End Of The Battle gleams with all the old audacity, macabre romanticism and cadaverous jollity which have made Waugh probably the supreme satirist of our day. For those not familiar with the previous Crouchback pursuits, the author has provided a synopsis, and though that's a curt and crowded affair and the opening pages rather stuffy, nevertheless as one gets into the odd-named, odd-ball characters and many-faceted plot the grand pattern becomes clear. Essentially Waugh is following his representative last-man-of honor hero through the Battle of Britain and using him as a guide to its nonsense and its glory. After movingly describing the funeral of Crouchback's Catholic father, the author then brilliantly tackles the return of Crouch-back's former wife, the much-married, breathless Virginia, who-pregnant from one of her lovers- gets Guy to the altar once more, takes up religion, motherhood and the good life, only to meet death in the London blitz. During that time Crouchback has been away serving UNRRA and negotiating with Tito's partisans on behalf of some Jewish refugees. What Waugh has to say both of Americans generally and the invidiousness of Dalmatian commissars particularly should infuriate the jingoists of either camp. But whether he is doing vignettes of Guy's Halberdier regiment or his quaint bachelor uncle or a daemonic friend who becomes a phony best-selling author or behind-the-scenes glimpses of battle stations, nursing retreats and social and sexual wartime mores, Mr. Waugh is always lumecane and incorrigible. And beneath the cold sparkle and baroque charm and chatter, the serious render cannot but help find real people and really human, if worldly, concern. A palpable hit.
Pub Date: Jan. 10, 1962
ISBN: 0316926205
Page Count: 352
Publisher: Little, Brown
Review Posted Online: April 11, 2012
Kirkus Reviews Issue: Dec. 15, 1961
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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